Supervised by BOB WEINSTOCK
Cover Photo by EDWARDS
Cover Design by REID MILES
Recording by RUDY VAN GELDER
[1-4] Recorded on May 19, 1954
[5-8] Recorded on May 26, 1955

"A Night At Tony's" was named for a club in Brooklyn which at that time featured, on weekends, some of New York's best jazzmen. Art Farmer opens with two exhilarating choruses followed by Gigi Gryce and Horace Silver. Then Art and Gigi exchange "fours."

"Blue Concept," [mp3] which served as the group's theme, is just what the title states. Art pours out his feelings and Gigi puissantly adds his heartfelt ideas. After Horace wails a few in his inimitable style, Art, Gigi and Kenny Clarke engage in rounds of "fours."

A sliding, melodic theme of medium tempo is "Stupendous-Lee" with solos by Gigi, Art and Horace.

"Deltitnu" (spell it backwards) is at breakneck speed with Art racing along followed by Gigi and an abbreviated bit by Horace. Kenny's solo, with appropriate grunts, leads into the final theme.

"Capri" is a change from the usual 32 bar pattern. It starts in B major and goes into its relative minor, G minor. The tag is in G major. Solos are by Gigi, Art and pianist Freddie Redd. Exchanges between Art and Gigi flow back into the theme.

"Blue Lights" is a minor blues which contains infusions of triplets as used in older forms of jazz. Solo order is Art, Gigi and Freddie.

"The Infant's Song" was dedicated by Gigi to James Gordon Weinstock, son of Prestige's pres. Bob Weinstock. James was born on May 21, 1955. In this beautiful ballad there is the use of independent key centers instead of resolutions which most ballads follow. Art carries the theme in a sensitive manner with Gigi playing underneath and occasionally interweaving his sound into the foreground. Gigi then rhapsodizes for a half chorus before Art comes back to blend with him again for the remainder of the theme.

Gigi described "Social Call" as a visit between friends in the afternoon. The mood of the piece and the solos of Art (muted), Gigi and Freddie, backed by Addison Farmer and Art Taylor, carry the idea through to perfection. The talented lyricist, Jon Hendricks, received a message from the piece and wrote appropriate words. Earl Coleman can be heard singing them with Art backing him in Earl Coleman Returns (Prestige LP 7045).